New Media Art and Entertainment On-Line Lecture / Virtual ERASMUS

Total Page：16

File Type：pdf, Size：1020Kb

New Media Art and Entertainment on-line lecture / virtual ERASMUS 5 ECTS spring semester Lecturers Jana Horáková, Tomáš Staudek, Martin Flašar, Zdeněk Záhora, Ladislav Švelch, Vojtěch Vaněk, Věra Lukášová, Adam Franc, Monika Szűcsová, Veronika Sellnerová, Zuzana Panák Husárová, and guests. Abstract The course introduces students to new media art and entertainment. Specifically, with computer generated art and software art (in case of new media art) and with digital games as a cultural phenomenon (in case of new media entertainment). There will be a combination of frontal lectures (general history and theory of new media art and digital games) with case studies focused on local (e.g. Central European) phenomena from these areas used during the course. At the end of the course, students will be able to describe trajectories of the historical development of new media art and digital games. Their knowledge of new media art and digital games will be deepened by their acquaintance with some unique or outstanding, locally specific phenomenon and events from within these fields. Topics New Media & Art – New Media & Entertainment Computers & Games: History Case study: Local digital games subculture Case study: Games in Technical museum in Brno Case study: Serious games Computers & Art: History Case study: Computer Graphic Revisited Case study: Digital sculpture Case study: Digital poetry Case study: Digital sound poetry Case study: Computer music Computers & Interactive fiction Case study: Digitálium (VIDA Center) Case study: Local indie games: Someday You'll Return Case study: Virtual art: Dust Digital games design & entertainment Case study: games without coding tools Case study: game design in on-line environment New media art & Speculative programming Case study: 90s new media art – media archeology Case study: software art programming Case study: Virus in new media art Game Industry (CZ) Case studies: Bohemia Interactive, Illusion Softworks, Madfinger Games, Amanita Games New Media Art & Art Institutions Case study: Ars Electronica Case study: Prototyp festival Case study: Vasulka Kitchen Brno Digital Games & Entertainment Case study: experience of gaming/gamer Case study: fandom (speedrunning, streaming, fanart, cosplay, playbour) Case study: digital games and its Japanese origin .

Copy Link

Recommended publications

Proquest Dissertations
REPROGRAMMING THE LYRIC: A GENRE APPROACH FOR CONTEMPORARY DIGITAL POETRY HOLLY DUPEJ A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN COMMUNICATIONS AND CULTURE YORK UNIVERSITY, TORONTO, ONTARIO APRIL 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-38769-6 Our file Notre reference ISBN: 978-0-494-38769-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
[Show full text]
Rui Torres & Sandy Baldwin
CONFERENCE, FESTIVAL, EXHIBITS BOOK OF ABSTRACTS AND CATALOGS EDITORS: RUI TORRES & SANDY BALDWIN Conference Book of Abstracts edited by Rui Torres and Sandy Baldwin Festival Catalog edited by Rui Torres and Sandy Baldwin Exhibits Catalog edited by Rui Torres with texts by the Curators: • Affiliations - Remix and Intervene: Computing Sound and Visual Poetry: Álvaro Seiça and Daniela Côrtes Maduro • Communities - Signs, Actions, Codes: Bruno Ministro and Sandra Guerreiro Dias • Translations - Translating, Transducing, Transcoding: Ana Marques da Silva and Diogo Marques • E-lit for Kids: Mark Marino, Astrid Ensslin, María Goicoechea, and Lucas Ramada Prieto. EDIÇÕES UNIVERSIDADE FERNANDO PESSOA PORTO . 2017 CONTENts INTRODUCTION ................................................. 7 CONFERENCE .................................................... 15 FESTIVAL ............................................................ 475 EXHIBITS ............................................................. 591 INTRODUCTION The ELO (Electronic Literature Organization) organized its 2017 Conference, Festi- val and Exhibits, from July 18-22, at University Fernando Pessoa, Porto, as well as several other venues located in the center of the historic city of Porto, Portugal. Titled Electronic Literature: Affiliations, Communities, Translations, ELO’17 pro- poses a reflection about dialogues and untold histories of electronic literature, providing a space for discussion about what exchanges, negotiations, and move- ments we can track in the field of electronic literature.
[Show full text]
Digital Poetry and Critical Discourse
Digital poetry and critical discourse: a network of self-references? Autor(es): Seiça, Álvaro Publicado por: Centro de Literatura Portuguesa; Imprensa da Universidade de Coimbra URL persistente: URI:http://hdl.handle.net/10316.2/38729 DOI: DOI:http://dx.doi.org/10.14195/2182-8830_4-1_6 Accessed : 10-Oct-2021 15:20:12 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. impactum.uc.pt digitalis.uc.pt Digital Poetry and Critical Discourse: A Network of Self-References? ÁLVARO SEIÇA University of Bergen Ph.D. Fellow in Digital Culture Abstract This article emerges from macroanalysis of several works of critical writing in the field of digital poetry, which have been documented in the ELMCIP Knowledge Base.
[Show full text]
Poetry's Afterlife: Verse in the Digital Age / Kevin Stein
POETRY'S AFTERLIFE DIgITALCULTUREBDDKS is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Poetry's Afterlife VERSE IN THE DIGITAL AGE Kevin Stein The University of Michigan Press and The University of Michigan Library ANN ARBOR Copyright © by the University of Michigan 20IO Some rights reserved This work is licensed under the Creative Commons Attribution-Noncommercial No Derivative Works 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. Published in the United States of America by The University of Michigan Press and The University of Michigan Library Manufactured in the United States of America r§ Printed on acid-free paper 2013 2012 2011 2010 4 3 2 I A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Stein, Kevin, 1954- Poetry's afterlife: verse in the digital age / Kevin Stein. p. cm. - (Digitalculturebooks) ISBN 978-0-472-07099-2 (cloth: alk. paper) - ISBN 978-0-472-05099-4 (pbk.: alk. paper) I. American poetrY-21st century-History and criticism. 2. Poetry-Appreciation United States-HistorY-2Ist century. 3. Poetry-Appreciation-United States HistorY-20th century. 4. American poetrY-20th century-History and criticism. I. Title. ps326s74 2010 811.509-dc22 ISBN 978-0-472-02670-8 (e-book) For Deb, with daisies, And for Kirsten and Joseph, who question everything.
[Show full text]
All the Delicate Duplicates: Game Building With[In] Mezangelle
Breeze All the delicate duplicates Independent scholar Mez Breeze All the Delicate Duplicates: Game building with[In] Mezangelle Abstract: Inspired by the possibilities of fiction, digital poetry and experimental digital art, All the Delicate Duplicates tells a complex psychological story through a combination of digital literature and experimental game formats. Developed by digital artists/writers rather than traditional game developers, All the Delicate Duplicates attempts to expand storytelling within games by including 3D elements spanning multiple time periods and incorporating animated and transitional texts, thus leaving the story wide open to multiple revisits and interpretations. The poetic, digitally born language called ‘Mezangelle’ forms a central part of All the Delicate Duplicates. Mezangelle involves constructing poetic phrases to extend and enhance meaning beyond the expected. As Mezangelle remixes the basic structure of English and code to create language where meanings are nested, players need to read, re-read, then re-read again in order to piece together a narrative. This article traces how All the Delicate Duplicates was initially conceived, the commission parameters of the project, the use of Mezangelle as a project story component, and overall reception. Biographical note: For over two decades, Mez Breeze’s award winning digital fictions have been influential in shaping interactive genres, Extended Reality (Augmented Reality, Virtual Reality, and Mixed Reality), electronic literature, and digital fiction. #PRISOM, her anti–surveillance Augmented Reality game co–created with Andy Campbell is ‘…the digital equivalent of Orwell's 1984’ according to academic James O’Sullivan. Mez’s Mixed Reality projects, games, and code poetry reside in Collections as diverse as The World Bank, Cornell’s Rose Goldsen Archive at Cornell University, and the National Library of Australia.
[Show full text]
HOLOPOETRY Essays, Manifestoes, Critical and Theoretical Writings
HOLOPOETRY Essays, manifestoes, critical and theoretical writings Eduardo Kac New Media Editions Lexington 1995 © 1995 Eduardo Kac All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. First edition, 1995 For information, contact: University of Kentucky Department of Art New Media Area ATTN. Eduardo Kac 207 Fine Arts Building Lexington, KY 40506-0022 Prefácio Este livro reúne textos que apresentam este novo tipo de poesia visual que introduzí em 1983. Os textos selecionados aqui recolhidos foram reproduzidos, em sua maioria, na língua em que foram originalmente publicados. Estes textos tem por objetivo esclarecer as questões básicas da holopoesia e documentar obras que de outra forma seriam de difícil acesso. Espero que este livro sirva como encorajamento ao leitor para que este se interesse por ler os holopoemas eles mesmos. A teoria não substitui os poemas. Tampouco ela os antecipa; antes, ela se desenvolve e muda com eles. A teoria é o resultado direto das experiências textuais, e também uma arena na qual o poeta exercita a reflexão sobre seu trabalho. Então, se este livro cumprir seu objetivo, onde pode o leitor ver os holopoemas? A esta altura, apenas em exposições individuais ou de grupo em museus e galerias. Espero que no futuro – devo dizer, no futuro próximo – seja possível a publicação de um livro de holopoemas. Até lá, que o presente livro seja uma introdução e um convite ao leitor para que explore a escritura holográfica.
[Show full text]
Download Brief CV in Pdf
MARÍA MENCÍA http://www.mariamencia.com CONTACT ME for FULL CV ACADEMIC QUALIFICATIONS 2000-2003 Digital Art and Digital Poetics practice-based PhD From Visual Poetry to Digital Art: Image-Sound-Text, Convergent Media and the Development of New Media Languages Chelsea College of Art and Design, University of the Arts, London 1996-1998 MA History and Theory of Art Chelsea College of Art and Design, London 1990-1993 BA Joint Honours in Fine Art and Design Camberwell College of Arts, London 1978-1983 Five years BA- specialist in English Philology Complutense University, Madrid, Spain TEACHING 2003-Present Senior Lecturer in Digital Media Theory and Practice at the School of Performance and Screen Studies, Kingston University, London, UK 2011-2013 MA Interactive Multimedia- Web Design module MA Science Communication Group, Imperial College, London, UK January-Feb 2015 Erasmus mobility grant, MA Literatura y Nuevas Tecnologías, UCA, University of Cadiz, Spain. 2012-14 Erasmus European Collaborative Program with four Fine Art Colleges and Universities including, Krakow, Budapest, Stuttgart and Kingston University. RESEARCH INTERESTS My practice-based research is at the intersection of language, art and digital technology. It explores the area of the in-between the visual, the aural and the semantic in multimodal textualities. Always interested in experimenting with the digital medium with the aim of engaging the reader/viewer/user in an experience of shifting ‘in’ and ‘out’ of language by looking ‘at’ and looking ‘through’ transparent and abstract landscapes of text and linguistic soundscapes. It draws from avant-garde poetics remediating concepts of reading and writing, exploring digital media grammars (voice activation, use of webcam, use of mouse, acts of revealing, triggering, cut and paste, dragging) for interactivity, aesthetics, engagement and meaning production.
[Show full text]
Lewis Jason.Pdf (1.737Mb)
Rockefeller Foundation New Media Fellowships 2003 Project Cover Form Jason Lewis Title 25 PIECES OF PAPER Genre Interactive and Dynamic Poems Applicant's Role in concept, development and implementation Production Production Format twenty-five interactive and dynamic poems Anticipated Length NA Color/B&W varies Sound/Silent yes Brief Project Description (do not exceed space given below) 25 PIECES OF PAPER is a series of twenty-five interactive and dynamic poems investigating one Edward Guthrie. The project title is taken from a rule of thumb in cultural anthropology that holds that every adult person bom and grown to adulthood in the Western world since 1900 has at least twenty-five pieces of paper documenting their existence. These pieces of paper include birth, baptism, marriage and death certificates, tax identification numbers, school diplomas - in short, all manner of official records use to archive our passage from cradle to grave. Edward Guthrie name once appeared on a birth certificate. When he/I was adopted, that name was replaced with mine. 25 PIECES OF PAPER will be a record of what I find as I pursue the life that Edward Guthrie never had. Beginning with the unsealing of my adoption proceedings I will look for other records that will tell me about the life-that-might-have-been. Each interactive and dynamic poem will take as its inspiration one of the twenty-five pieces of paper that would have belonged to that life. In addition to text, the pieces will use audio, video and still imagery to touch on such big "I" Issues as identity, class and race as well as little "\m issues such as learning to like fry-bread and figuring out how to dance in a powwow arena without embarrassing oneself.
[Show full text]
Funkhouser, C, Baldwin.S, Prehistoric Digital Poetry. Anarchaeologyof
Prehistoric Digital Poetry MODERN AND CONTEMPORARY POETICS Series Editors Charles Bernstein Hank Lazer Series Advisory Board Maria Damon Rachel Blau DuPlessis Alan Golding Susan Howe Nathaniel Mackey Jerome McGann Harryette Mullen Aldon Nielsen Marjorie Perloff Joan Retallack Ron Silliman Lorenzo Thomas Jerry Ward Prehistoric Digital Poetry An Archaeology of Forms, 1959–1995 C. T. FUNKHOUSER THE UNIVERSITY OF ALABAMA PRESS Tuscaloosa Copyright © 2007 The University of Alabama Press Tuscaloosa, Alabama 35487-0380 All rights reserved Manufactured in the United States of America Typeface: Minion ∞ The paper on which this book is printed meets the minimum requirements of American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. Library of Congress Cataloging-in-Publication Data Funkhouser, Chris. Prehistoric digital poetry : an archaeology of forms, 1959–1995 / C. T. Funkhouser. p. cm. — (Modern and contemporary poetics) Includes bibliographical references and index. ISBN-13: 978-0-8173-1562-7 (cloth : alk. paper) ISBN-10: 0-8173-1562-4 (cloth : alk. paper) ISBN-13: 978-0-8173-5422-0 (pbk. : alk. paper) ISBN-10: 0-8173-5422-0 (pbk. : alk. paper) 1. Computer poetry—History and criticism. 2. Computer poetry—Technique. 3. Interactive multimedia. 4. Hypertext systems. I. Title. PN1059.C6F86 2007 808.10285—dc22 2006037512 Portions of I-VI by John Cage have been reprinted by permission of Harvard University Press, Cambridge, Mass, pp. 1, 2, 5, 103, 435. Copyright © 1990 by the President and Fellows of Harvard College. To my comrades in the present and to cybernetic literary paleontologists of the mythic future “The poem is a machine,” said that famous man, and so I’m building one.
[Show full text]
A Taxonomy of Generative Poetry Techniques
Bridges Finland Conference Proceedings A Taxonomy of Generative Poetry Techniques Carolyn Lamb, Daniel G. Brown, Charles L.A. Clarke Cheriton School of Computer Science, University of Waterloo Abstract We describe computer-generated poetry techniques in the categories of mere generation, human enhancement, and computer enhancement, and argue that the artificial intelligence techniques used by computer scientists are artistically relevant. We also generalize this taxonomy to computer-generated music. Introduction Many people generate poetry using computers, from artists exploring the effects of algorithms on language, to Internet hobbyists, to computer scientists interested in making artificial intelligence creative. Despite these varied authors, and lack of communication between communities, the techniques used to generate such poetry can be boiled down into a few simple categories with well-defined relationships. We define these categories as follows. In mere generation, a computer produces text based on a random or deterministic algorithm. All generative poetry systems we have come across use some form of mere generation. In the remaining two categories, the results of mere generation are modified and enhanced. This occurs either through interaction with a human (Human Enhancement), or through the use of optimization techniques and/or knowledge bases (Computer Enhancement). The results of mere generation can appear nonsensical, though this is not always a bad thing from an artistic perspective. By bringing in knowledge about words and the world, and by setting artistic goals, both human and computer enhancement drive generative poetry towards coherence and artistic style. Digital poetics encompasses a wider range of techniques than those described here. They include hy- pertext poetry, kinetic poetry, chatbots as art, interactive fiction [6], multimedia poetry, and even poetry that presents itself as a game [8].
[Show full text]
Dissertation Submitted in Partial Satisfaction of The
From Dada to Digital: Experimental Poetry in the Media Age by Kurt Andrew Beals A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Anton Kaes, Chair Professor Niklaus Largier Professor Elaine Tennant Professor Robert Kaufman Spring 2013 From Dada to Digital: Experimental Poetry in the Media Age ©2013 by Kurt Andrew Beals Abstract From Dada to Digital: Experimental Poetry in the Media Age by Kurt Andrew Beals Doctor of Philosophy in German Designated Emphasis in Critical Theory University of California, Berkeley Professor Anton Kaes, Chair At least since Mallarmé, if not before, poets in the Western tradition have responded to changes in media technologies by reflecting on their own relationship to language, and by reassessing the limits and possibilities of poetry. In the German- speaking world, this tendency has been pronounced in a number of experimental movements: Dada, particularly in Zurich and Berlin between 1916 and 1921; Concrete poetry, especially its Swiss and German variants in the 1950s and ’60s; and finally, digital or electronic poetry, a genre that is still developing all around the world, but has roots in Germany dating back to the late 1950s. For each of these movements, the increasing dominance of new media technologies contributes to an understanding of language as something material, quantifiable, and external to its human users, and casts doubt on the function of language as a means of subjective expression, particularly in the context of poetry.
[Show full text]
Digital Duende: Reading the Rasp in E-Poetry
Queen’s Journal of Visual & Material Culture Issue 2 | 2009 Amanda G. Michaels Digital Duende: Reading the Rasp in E-Poetry uende. In Spanish and Latin American mythology, it signifies a ghost, an evil spirit, a goblin-like creature. In the context of the arts, it is a delicately nuanced term, suggesting “the obscure power and penetrating D 1 inspiration of art,” and is most closely associated with the music of flamenco. Duende has been part of the vocabulary of poetics since 1933, when Spanish poet and dramatist Federico García Lorca invoked the term in his lecture “Play and Theory of the Duende” to describe his own theory of the artistic process. Duende is, in Lorca’s interpretation, the passion that flows through a piece of art; the rough rasp of a singer’s voice as she transcends conventional musical aesthetics; the pain and fear of love that is sin remedio, without remedy.2 Lorca did not originate the term duende, and the element in art to which he applied it did not just appear with his act of naming. Lorca was describing the intangible draw of art, the je ne sais quoi that moves viewers and connects them to something greater than themselves, putting into words the unsaid—unsaid because it is largely unsayable. The artist may strive for duende, but it “is something beyond technical competence or even technical virtuosity.”3 Lorca pointed to duende as aspiration and inspiration, and in the sweeping, poetic manner in which he describes it, acknowledges the impossibility of capturing duende in our limited language.
[Show full text]